And, although the medium of prose is attenuated almost to the vanishing point, where it may seem to be lost, it may nevertheless borrow from its content a beauty of rhythm, imagery, and form that will seem to be its very own. For in language, as we observed in our discussion of poetry, the meaning and the symbol are so closely one, that it becomes impossible, except by analysis, to distinguish them. Prose rhythm is fundamentally a rhythmical movement of ideas, like poetic rhythm, only without regularization; yet, since the ideas are carried by the words, it belongs to them also; images blossom from ideas, yet they too seem to belong to the words in which they are incarnated; and the harmony and symmetry which thoughts and images may contain as we compose them synthetically in the memory, make an architecture of words. The transparent medium of prose shares the beauty of its content, just as a perfect glass partakes of the color of the light which it transmits.
The psychologic roots of prose literature are the impulses to self- revelation and to acquaintance with life. Every thing that has once entered into our lives, no matter how intimate, craves to come out; the instinct of gregariousness extends, as we have noted, to the whole of the mind. The completely private and uncommunicated makes us as uncertain and afraid of ourselves as physical loneliness. But in addition to the dislike for any form of isolation, even when purely spiritual, there is another factor which determines self-revelation,—the desire for praise. We want a larger audience for our exploits than the people immediately involved in them, so we tell them to any listening ear. The friend whispering his confession illustrates the one motive; the hero bragging of his deeds illustrates the other.
The desire to hear another's story is the obverse of the desire to tell one about oneself, just as the impulse to welcome a friend is the complement of his impulse to seek our companionship; we receive from him exactly what he takes from us,—an enlargement of our social world, the creation of another social bond. If we cannot hear his story from his own lips, we want to hear it from some third person, who will surely be glad to relate it, since he, as bearer of the news, will bring to himself something of the glory of the hero. There is malice enough in gossip, but most of it is the purest kind of mental and emotional satisfaction. Our interest in it is of exactly the same kind as our interest in novels and romances. The stories which we tell about ourselves and our friends make up the ephemeral, yet real prose literature of daily life.
Most stories probably had their origin in more or less literal transcriptions from real life. History is the basis of literature. However, as stories are passed from one person to another, fiction encroaches upon fact. Details are forgotten and have to be filled out from the imagination; then a sheer delight in invention enters in; it is so interesting to see if you can make a world as good as the real one, or even outdo it in strangeness and wonder, provided, of course, you can still get yourself believed. Even in the relation of real events, creation inevitably plays a part; the whole of any story is not worth telling; there must be selection, emphasis upon the most striking particulars, and synthesis.
Besides the opportunity which it gives of unhampered control over the story, fiction has still other advantages. The interest which we take in tales of real life is bound up with personal appeals. This is most racy in gossip, but something of the kind lingers in all narratives of fact. Literature can become disinterested and universal in its appeal only when, keeping the semblance of life, it becomes a work of pure imagination. It is then, as Aristotle said, more philosophical, that is, more universal and typical, than history.
Another advantage of fiction as compared with history is its completeness. The knowledge which we possess of the lives of others is the veriest fragment. We know, of course, our own lives best; but even of these, unless we are at the end of our years, we do not know the outcome. We know next well the life of an intimate—wife, child, sweetheart, friend—yet not all of that; there is much he will not tell us and much else which we cannot observe; for even he dwells with us for a brief time only, and then is gone. Of other people, we can know still less; we can observe something, we can get more from hearsay; but that is a chaos of impressions; the larger part is inference and construction, a work of the imagination, which may or may not be true. Even the biography, carefully made from all available data in the way of personal recollections, letters, and diaries, although it may approach to wholeness, remains, nevertheless, very largely a construction, a work of literary fiction. The autobiography comes still closer; yet, since it is designed for a public which cannot be expected to view it in a solidly detached fashion, it suffers from the reticence which inevitably intrudes to suppress. In fiction alone, none except artistic motives need intervene to bid silence.
However, although fiction be a purely ideal world of imagined life, it is essentially the same as the real social world. For that world is also imaginary. We have direct experience of our own lives alone; the lives of others can exist for us only in our thought about them. To be sure, our daily contact with the bodies of our friends and associates gives to this thought something of the pungency of self-knowledge; yet in absence, they live for us, as the characters in a novel, only in our thought. And the majority of the people, personally unknown to us, who make up our larger social world—and for most of us this includes the great ones who are such potent factors in determining it—are real to us in the same way that Diana or Esmond are real. All historical figures belong to this world of imagination. Our friends too, as they pass out of our lives or die, and we ourselves eventually, will sink into it.
Our interest in the fictional world of the writer is, moreover, essentially the same as our interest in the real world. Its persons arouse in us the same emotions of admiration, love, or dislike. They satisfy the same need for social stimulation, the same curiosity about life. Just as we have certain instincts and habits of movement that make us restless when they are not satisfied, and afford us a wild joy in walking and running when we are released from confinement, so we have certain instincts and habits of feeling towards persons which demand objects and produce joy when companions are found. An unsatisfied or superabundant sociability lies back of our love of fiction. We read because we are lonely or because our fellow men have become trite and fail to stimulate us sufficiently. If our fellows were not so reticent, if they would talk to us and tell us their stories with the freedom and the brightness of a Stevenson, or if their lives were so fresh and vivid that we never found them dull, perhaps we should not read at all. But, as it is, we can satisfy our craving for knowledge of life only by extending our social world through fiction. Fiction may teach us, edify us, make us better men—it may serve all these purposes incidentally, but its prime purpose as art is to provide us with new objects for social feeling and knowledge.
The interest which we take in fictitious action is also like that which we take in real action. The same emotions of desire for the attainment of a goal, suspense, hope, fear, excitement, curiosity and its satisfaction, joy, despair, are aroused. And we have a need to experience these emotions at high pitch greater than our everyday lives can satisfy. Our lives are seldom adventurous all over; there are monotonous interludes with no melody, offering us little that is new to learn. Our love for war and sport shows that we were not built organically for humdrum. Now literature helps to make up for this deficiency in real life by providing us with adventures in which we can participate imaginatively, and from which we can derive new knowledge. If real life did supply us with all the intense living that we demand, we might not care to read, although the love of adventure grows by feeding, and many an active man revels in tales which simulate his own exploits.
It follows that the novelist should imitate life, yet at the same time raise its pitch. The realists imitate life deliberately, and we measure their worth by their truth, but they select the intense moments. The romancers and weavers of fairy tales, on the other hand, instead of choosing the vivid moments of real life, in order to stimulate the emotions, accomplish the same end by exciting wonder and amazement at the exaggerations and unheard-of novelties which they create. Yet even they give us truth, not truth in the sense of fact, but in the sense of a world which arouses the same elementary emotions, intensified though they be through amazement, as are aroused by fact. It matters not how outlandish their tales so long as they do this. Love stories are so widely interesting because love is the one very vivid emotion in most people's lives, although there are other experiences—warfare, the pursuit of great aims, the clash of purposes and beliefs, the growth of souls—equally intense. Dante's three themes, Venus, Salus, Virtus,[Footnote: See his De Vulgari Eloquentia.] broadly interpreted, cover the range of literary subjects.